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Coup De Tete
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
1 | Whatever I Want |
2 | At the Moment of the Serve |
3 | This Night Comes Out of Both of Us |
4 | India Song |
5 | Lover Divides Time (To Hear How It Sounds) |
6 | No One Gets to Transcend Anything |
7 | Shadow to Shadow |
8 | Sketch from "Two Cubas" |
9 | Heart on My Sleeve |
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.25 x 0.94 x 12.65 cm; 117.93 g
- メーカー : Yellowbird
- EAN : 0767522770124
- 商品モデル番号 : 7701
- オリジナル盤発売日 : 2010
- レーベル : Yellowbird
- ASIN : B0013N8W58
- 原産国 : アメリカ合衆国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 25,164位ミュージック (ミュージックの売れ筋ランキングを見る)
- カスタマーレビュー:
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gi@Nc@
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ahead of its time
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I reviewed this album for a music magazine back when it first came out. I had mixed feelings about it at the time, but listening to it thirty years later provides some new insights. A few things about Hanrahan's work in general:
a) The man knows how to put together a killer band, built around a solid rhythmic core of amazing Afro-Caribbean percussionists, adding top-notch Downtown jazz, experimental, and rock players; here we have Arto Lindsay, Anton Fier, Bill Laswell, Billy Bang, Jamaaladeen Tacuma, Fred Frith, George Cartwright, Jerry Gonzalez, Daniel Ponce, Michael Mantler, Carla Bley, Chico Freeman, Cecil McBee, Teo Macero, Bern Nix, and many others.
b) These are not humble little indie records that he makes, but big, ambitious gestures born of a big vision. He's previously likened himself to a film director, an apt comparison. He pulls together many diverse musicians/personalities and varied conceptual threads, and shapes them all into a congruent whole. I imagine it is quite a complex process. More often than not, he pulls it off.
c) His albums are always impeccably recorded. I'm listening now to the CD re-issue on the German yellowbird label and the sound is lush, crisp, and detailed, even when there is a lot going on. I don't know if this was remastered, but it's far better than I recall the original LP sounding.
Approaching this as a more "mature" listener, I probably have a better appreciation for what Hanrahan was doing, and just how groundbreaking this album was at the time (recorded 1979-81). It may not sound as blatantly "avant garde" as what John Zorn was doing in the same era, or even Laswell, yet it's every bit as innovative in terms of successfully mixing and matching seemingly unlikely combinations of elements. Arto's guitar noise is especially well-used here; he's essentially another percussionist, quiet enough in the mix to become an interesting rhythmic texture rather than an overbearing element. And I still love, love, love the version of India Song with Carla Bley singing.
Back in 1981 I had doubts about Hanrahan's vocals and lyrics, and those are still the weak link for me. The three tracks he sings on are OK, but his range as a vocalist is basically limited to wise-ass talk-singing. It was a smart move to recruit Jack Bruce to sing on the next few albums, which were more melodic and needed a real singer. As for the lyrics... I appreciate his efforts to write edgy, literate songs that mix poetry, humor, politics, and sex, but it can be a bit overly intellectual after a while. On the later records - especially Vertical's Currency - this is somewhat undercut by a dose of romantic sentimentality, but that hadn't quite happened here yet.
Old complaints aside, I have to say I admire this album much more now. As a first release it is an impressive statement of intent and bravado, a masterful mix of genres that was truly prophetic and laid the groundwork for most everything he's done since. I'm tempted to say he created his own genre.
a) The man knows how to put together a killer band, built around a solid rhythmic core of amazing Afro-Caribbean percussionists, adding top-notch Downtown jazz, experimental, and rock players; here we have Arto Lindsay, Anton Fier, Bill Laswell, Billy Bang, Jamaaladeen Tacuma, Fred Frith, George Cartwright, Jerry Gonzalez, Daniel Ponce, Michael Mantler, Carla Bley, Chico Freeman, Cecil McBee, Teo Macero, Bern Nix, and many others.
b) These are not humble little indie records that he makes, but big, ambitious gestures born of a big vision. He's previously likened himself to a film director, an apt comparison. He pulls together many diverse musicians/personalities and varied conceptual threads, and shapes them all into a congruent whole. I imagine it is quite a complex process. More often than not, he pulls it off.
c) His albums are always impeccably recorded. I'm listening now to the CD re-issue on the German yellowbird label and the sound is lush, crisp, and detailed, even when there is a lot going on. I don't know if this was remastered, but it's far better than I recall the original LP sounding.
Approaching this as a more "mature" listener, I probably have a better appreciation for what Hanrahan was doing, and just how groundbreaking this album was at the time (recorded 1979-81). It may not sound as blatantly "avant garde" as what John Zorn was doing in the same era, or even Laswell, yet it's every bit as innovative in terms of successfully mixing and matching seemingly unlikely combinations of elements. Arto's guitar noise is especially well-used here; he's essentially another percussionist, quiet enough in the mix to become an interesting rhythmic texture rather than an overbearing element. And I still love, love, love the version of India Song with Carla Bley singing.
Back in 1981 I had doubts about Hanrahan's vocals and lyrics, and those are still the weak link for me. The three tracks he sings on are OK, but his range as a vocalist is basically limited to wise-ass talk-singing. It was a smart move to recruit Jack Bruce to sing on the next few albums, which were more melodic and needed a real singer. As for the lyrics... I appreciate his efforts to write edgy, literate songs that mix poetry, humor, politics, and sex, but it can be a bit overly intellectual after a while. On the later records - especially Vertical's Currency - this is somewhat undercut by a dose of romantic sentimentality, but that hadn't quite happened here yet.
Old complaints aside, I have to say I admire this album much more now. As a first release it is an impressive statement of intent and bravado, a masterful mix of genres that was truly prophetic and laid the groundwork for most everything he's done since. I'm tempted to say he created his own genre.
Jorge Bas García
5つ星のうち5.0
Encantador
2013年12月4日にスペインでレビュー済みAmazonで購入
Todos los discos de Kip Han son maravillosos sean del estilo que sean y con las canciones y artistas invitados